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Charles A. Perrone, „From Noigandres to „Milagre da Alegria”: The Concrete Poets and Contemporary Brazilian Popular Music”

Latin American Music Review / Revista de Música Latinoamericana, Vol. 6, No. 1 (Spring – Summer, 1985) pdf

 

The first discussion of affinities between concrete poetry and Brazilian popular music dates to 1960, when critic Brasil Rocha Brito incorporated observations by Augusto de Campos into the first interpretative essay about Bossa Nova. Commenting on outstanding compositions of that musical movement, Campos focused on two particularly noteworthy songs by Antonio Carlos Jobim and Newton Mendona – „Desafinado” („Out of Tune”) and „Samba de uma nota so” („One-Note Samba”) – in which he perceived „a search for essentialization of the texts” and „a dialectical process similar to the one that the concrete poets defined as ‚isomorphism’ (the conflict of form and content in search of mutual identity).” Having shown close links between verbal and melodic-harmonic functions in these two classic songs, Campos concluded that, given the „critical intentionality” of some Bossa Nova lyrics, „they form a tendency that, in certain ways, . . . corresponds to manifestations of the poetic avant-garde, participating with it in a common cultural process.” Rocha Brito, in turn, held that other Bossa Nova lyrics de- served highlighting „for their synthesis and functionality,” even describing one lyric as „clearly influenced by the paths of concrete poetry.”

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